The American novel tends to rest in contradictions and among extreme ranges of experience. When it attempts to resolve contradictions, it does so in oblique, morally equivocal ways. As a general rule, it does so either in melodramatic actions or in pastoral idylls, although intermixed with both one may find the stirring instabilities of "American humor." These qualities constitute the uniqueness of that branch of the novelistic tradi tion which has flourished in this country. They help to account for the strong element of "romance" in the American "novel." By contrast, the English novel has followed a middle way. It is notable for its great practical sanity, its powerful, engrossing composition of wide ranges of experience into a moral centrality and equability of judgment. Oddity, distortion of personality, dislocations of normal life, recklessness of behavior—these the English novel has included. Yet the profound poetry of disorder we find in the American novel is missing, with rare exceptions, from the English.